New vinyl records will be released March 2018 on Tonometer; Dissolution & Suspension (LP) and Illumination (10"). There will be an event at Kunsthal Charlottenborg, Copenhagen February 27.2018 organized by the Danish Cultural Institute celebrating the two releases.

Participating in the 2018 edition of the 'Mois Multi - Festival international d’arts multidisciplinaires et électroniques' in Quebec, Canada with the works Inclinations and ÆTER. More info about the festival can be found here.

In 1688 The Kings House (Kungshuset) was donated to the university by Carl XI, just 20 years after the inauguration of Lund University. The 16th century edifice built by the Danish King, Frederik III, is one of the oldest in Lund. It served as the main building for the university up until the late 19th century, and through the centuries, there has been an astronomical observatory, as well as an anatomical operating theatre. The building is both a starting point for, and an element of, the location-specific jubilee exhibition. Now visitors will have the opportunity to discover the building and experience the works of 13 contemporary artists spread out on all the floors.

The project is curated by Christian Skovbjerg Jensen and Patrick Amsellem and is a co-production by Inter Arts Center from the Faculty of Fine and Performing Arts and Skissernas Museum – Museum of Artistic Process and Public. The project is funded by Lund University’s 350th anniversary jubilee with a grant from the City of Lund. The Botanical Garden and the University Library in Lund have been valuable collaboration partners for the exhibition.

September 7-11, 2017, Linz will host an exciting, comprehensive confrontation with the reality and the vision of artificial intelligence. Symposia, exhibitions, performances, workshops and artistic interventions will elaborate in depth on its cultural, psychological, philosophical and spiritual dimensions. Consideration of the essence of a future artificial intelligence created by human beings will also be the point of departure of a process of reflection about ourselves, our weaknesses and strengths—in short, about what makes us human.

“The Other I” – Technology as Antagonist or Alter Ego? In light of this background, the theme of the 2017 Ars Electronica Festival is “Artificial Intelligence – The Other I.” And as the subtitle suggests, we will be focusing our attention beyond the technological and economic horizon to scrutinize cultural, psychological, philosophical and spiritual aspects. From the perspective of a festival dedicated to art, technology and society, Ars Electronica is interested above all in the visions, expectations and fears that we associate with the conception of a future, all-encompassing artificial intelligence. This is a development that brings us to an up-close-and-personal encounter with fundamental questions of our own identity and existence. For instance, what would it mean for us as “creatures capable of reason” if we suddenly no longer had a monopoly on thinking? Would we remain the “crown of creation”? And, even then, will there still be something that only human beings are capable of doing—and if so, what? How are we to come up with ethical principles for our future super-robots when we’re unable to accomplish this among our fellow human beings? Will we ever even be able to accept the fundamental otherness of such an artificial intelligence considering how difficult this is for us in our interactions with other people with a different skin color or of another religion? And what about a potential human-machine conflict of interest—aren’t we massively impairing our prospects for success by degrading our ecosystem and everything else that we human beings—in contradistinction to machines—are dependent upon? Our urge to create a perfect likeness of ourselves and our fear of someday being overthrown by that very creature intertwine in our vision of artificial intelligence to an extent unmatched by any other technology. Artificial intelligence is thus the perfect projection surface upon which to consider the images of human beings and worldviews that are widespread in this Digital Age today. Together with artists, scientists, scholars and experts in business, politics and religion, this year’s Ars Electronica Festival will endeavor to ascertain which of our fears are justified and which are just manifestations of our ambivalent attitude towards technology. After all, if we might ultimately be risking everything in this gambit, why are we even getting involved in an adventure like artificial intelligence in the first place? This is indeed a question that is good enough to dedicate an Ars Electronica Festival to!

For the third consecutive year, Inkonst and Inter Arts Center present Intonal festival in partner-ship with CTM and Unsound. As ever, Intonal celebrates musical expressions off the beaten track – from exciting journeys into sound to experimental club music and energetic live perfor-mances. And artist talks, screenings and video and sound installations are integrated even deeper into the festival program this year.

The installation programme has become more integrated and prioritized in the Intonal programme. For the third edition of the festival Intonal will present four installations with Anne de Vries, Christian Skjødt, Mark Fell and Hassan Khan.

In the Black Room IAC will present Anne de Vries’ video Critical Mass: Pure Immanence. In the Annex on the third floor, Christian Skjødt is developing a new installation - RAMIFICATIONS - during his two months residency at IAC, through the Make Sound programme. Mark Fell was in residency at IAC in the Fall of 2016, and is also developing a new installation, for the White Room. And last but not least Hassan Khan is putting together two installations in one, outside the entrance to IAC and the Mazetti House.

The Intonal Festival will talke place 28th - 30th of April 2017 at Inkonst and Inter Arts Center, Malmö, Sweden. More information about the installation ca be found here.

Artist-In-Residence at Inter Arts Center (IAC) in Malmö, Sweden March - April 2017. IAC is a platform for artistic research and experimentation, part of the Faculty of Fine and Performing Arts at Lund University. It acts as a meeting place and a work space for researchers and artists who use the facilities for short or long term projects.

What makes IAC unique is that it in addition to being an environment designed specifically for artistic research and interdisciplinarity, it is also open to experimental and multidisciplinary artists working in visual art, music and theatre. This combination of artist working within as well as outside the academy is a vital component in the development of artistic research.

IAC’s position in the art world differs markedly from that of institutions such as museums, art galleries, concert halls, theatre companies and venues, as well as more artist-driven and often short-term initiatives. IAC does not need to adhere to specific formats of presentation nor focus on attendance. This allows IAC to concentrate more on contributing to the development of various artistic fields, by working with processes, research, experimentation and technology over time.

█ ENCAC

The European Network for Contemporary Audiovisual Creation (ENCAC) is pleased to announce this year’s winners of their annual open call. Totalling 186 submitted projects from 34 countries, a wide range of approaches from developers, performers, visual artists, film makers, choreographers and musicians, composers and sound artists presented their particular visions of the potential for audiovisual creativity in cross-disciplinary fields.

Winning projects are: “ÆTER” by Christian Skjødt, “Embodied Gestures” by Enrique Tomás, “Manufactory” by Transforma, “Permafrost” by Adam Basanta and Gil Delindro, “Aeryon” by Maotik and “Soft Probe” by Matthew Biederman and Marko Peljhan. Each of the 6 winning artists will be awarded a residency at one of the following institutions: Avatar, Quebec, CTM Festival DISK, Berlin, hTh Montpellier, LABoral Centro de Arte y Creación Industrial, Gijón and Le Lieu Unique, Nantes.

What happens in the moment we actually hear ourselves and our own presence? In the moment when the inaudible becomes audible? Christian Skjødt’s exhibition Sub- makes the mind and body vibrate.

Laser beams are directed at the windows facing onto Christianshavn Canal, capturing vibrations from their panes. They shoot back, creating feedback. The first room of the exhibition houses the installation Refractions (2016). Here Skjødt works acoustically with the phenomenon of the window as the material division of two spaces. Because at the exact point when the laser beam is translated into sound, whether the sound comes from inside or outside is irrelevant. This generates new premises for the space. Not as a single space, but as x number of spaces with the emergence of a sensitive relationship between the feedback system and the people who occupy the space. As soon as one system shuts down, another begins. The work is the sum of the number of systems listening to themselves and each other – an uncontrollable sum of x number of memories, x number of perspectives as sound is not solely something we can measure in decibels and hertz.

The kinetic work Inclinations (2016) is installed in the corridor. The loudspeakers send out sound waves that are beyond the audible frequency range of human hearing. On each of them there is a ball that the vibrations of the loudspeaker set in motion, creating a rhythmic pattern. The prepared loudspeakers make sound present. The work is a witness to what we are unable to hear and the boundary between our sensory apparatus and the materiality of the world.

The Installation of Flux and VibrationsSkjødt works in the field of installation art, with a specific focus on the connections between sound and space and a constant eye and ear on human sensory perception.

This approach takes us back to New York in the late 1950s, when the composer and theorist John Cage extended the field of musicality to include the categories ‘silence’ and ‘noise’ and reinstated music as a category of sound. As an extension of this, a group of artists under the collective name Fluxus started to incorporate sound in more sculptural and visual forms that were spatially installed. Many of these artists attended Cage’s courses on experimental composition at the New School of Social Research in New York.

In the publication Background Noise (2015), the art theorist Brandon Labelle describes how Fluxus’ innovative use of mixed media (especially sound) changed perceptions of art. Fluxus artists drew attention to the radical use of art in situ, pointing to our presence in a material world. Consequently, the art world started to turn its attention to attentiveness itself – the aesthetic experience – rather than the art object. According to Labelle, sound art gained ground as art moved from objects to environments, because the essence of sound is relational, oscillating and communicative – in a constant, dynamic relationship to the spaces and bodies it emerges between.

Physics and AestheticsChristian Skjødt compiles sound installations with a laboratory approach in which technical and physical experiments play a central role. He has described how in many ways sound bypasses the intellect and ‘speaks’ directly to the body, reminding us of the direct link between the body, thinking and reality. His visuals are minimalist, investigating individual audio-technical principles that investigate themselves and the space they are in. His work is based on the physicist’s approach of allow- ing objects and materials to be what they are. But the listener physically changes this sterile scenario adding x number of unknown factors. By making the visitor part of the art situation standing in the midst of the artwork, Skjødt continues the legacy of the Fluxus movement. As a work, Refractions can thus not be pinned down, developing as it does due to the presence of the ‘sound bodies’ participating in the space. Many of Skjødt’s works function interactively and reactively, including Vibrant Disturbance (2012), which changes according to the degree and intensity of the flow of light. In this way, Skjødt creates spaces where it is impossible to stand at a distance as a viewer. We have to relate to place and time.

Between hearing and listening
Skjødt combines two languages in his works. One is the language that articulates the con- ditions of hearing and conceives of people in terms of capacities – a language based on the scientific ideal of measuring the world and its materiality. The other articulates human per- ception and the potential of listening, where the individual is understood as a socially con- ditional entity. Skjødt intervenes between these two spheres, seeking to frame the moments where the inaudible becomes audible to let sensory perception unfold.

Documentation of the permanent installation created in collaboration with Jørgen Carlo Larsen can be found here. Photos: Erling Lykke Jeppesen.

█ Sub-

The solo exhibition Sub- will open July 15.2016 at 17:00-20:00 at 'Overgaden. Institute of Contemporary Art' in Copenhagen as a part of their sound art programme SummerSounds. The saxophone player, composer and improvisor Lotte Anker will do a performance at the opening.

Adumbrāre on exhibition April 16 - May 8.2016 at Spanien 19C, Aarhus, Denmark.

█ Spor Festival

A new sound installation, Eavesdrops, is featured on this years SPOR Festival May 11-14.2016.

█ Foundation for Indian Contemporary Art (FICA) Reading Room

Giving an artist talk at the Foundation for Indian Contemporary Art (FICA) Reading Room, Vadehra Art Gallery, New Delhi. January 7.2016. Organized by 'Sound Reasons IV'

█ Sound Reasons IV

Participating in the Sound Reasons IV festival in New Delhi, India January 2016.

█ Üle Heli

From the performance October 24.2015 in 'ERR 4.Stuudio' of DISSOLUTION & SUSPENSION as a part of the ÜLE HELI Festival in Tallinn, Estonia. More info about the piece can be found here.

█ The Fifth Movement

Publication in connection to the Symphony of Hunger exhibition is now released. ISBN 9788890125980.

█ Symphony of Hunger

September 24. - October 31.2015 VIBRANT DISTURBANCE can be experienced at A PLUS A GALLERY in Venice, Italy as a part of the group exhibition SYMPHONY OF HUNGER curated by SCSV. About the exhibition:

"Inspired by a notable selection of works from the FONDAZIONE BONOTTO collection, the show feeds an appetite for candid action and fosters a relation to bodily presence through a composition of pieces by established and emerging artists. Considering themes of desire, taste, digestion, and waste, the exhibition will use an experimental curatorial model to orchestrate an organic exploration of corporal, sociopolitical, and aesthetic hungers.

The exhibition is anchored by historical works from renowned artists including DEMOSTHENES AGRAFIOTIS, JOSEPH BEUYS, ROBERT FILLIOU, JUAN HIDALGO, DICK HIGGINS, ARRIGO LORA TOTINO, GEORGE MACIUNAS, WALTER MARCHETTI, and CLAES OLDENBURG, many of whom were active in the Fluxus movement. Originating in the 1960s, Fluxus was integral to challenging and expanding the definitions of art by breaking away from pre-existing practices. Deriving its name from the Latin word for “flowing” or “fluid," the movement was driven by artists who craved human connections, actions, and exchanges and believed deeply that art originates in the belly rather than the brain. Inspired by these intentions and stemming from early experimental music scores by composer John Cage, Fluxus artists explored notions of democratic inclusion, interactive association, and indeterminacy in art.

This exhibition re-enlivens the spirit of Fluxus with a convergence of contemporaneity. While the key efforts of the movement may have passed, major threads of its revolutionary intentions live on within the current creative sphere. Many artists today are inspired by the same hunger for expression of social, cultural, and political matters through physicality and interaction. By uniting the historical Bonotto selections with a global assemblage of contemporary works, this exhibition creates a harmonious meeting of artists across five decades and nine countries that share a common craving.

Showcasing the recent work of eleven international artists and collectives, this exhibition illustrates a fluid continuity of attitude through a wide range of media. Throughout its run, several site-specific works will be revealed, including an immersive installation by sound artist CHRISTIAN SKJØDT [Denmark], as well as three newly commissioned works: a poetry piece by BARBARA ROCKMAN [USA], a performance by TIZIAN BALDINGER [Switzerland], and an interactive installation by DAVIDE SGAMBARO [Italy]. The exhibition will also feature sound and video works by CHRISTOF MIGONE [Canada], and PIL & GALIA KOLLECTIV [Israel]. Photographic work by KENSUKE KOIKE [Japan], and two dynamic objects by MANO PENALVA [Brazil] will also be displayed."

█ Squaring the Circle

Based on one of the classic mathematical problems from ancient Greece - squaring the circle - a new sound piece was performed at Glyptoteket’s Winter Garden, Copenhagen DK in connection to Glyptoteket’s event of contemplation called SLOW September 18.2015. Thanks to SNYK/Wundergrund.

A new permanant site-specific installation created in collaboration with artist Jørgen Carlo Larsen for Margrethe Reedtz Skolen in Ryde, Denmark is now approved for realization by representatives from the school and the Danish Arts Fundation's Committee for Visual Arts. The outdoor installment of the piece will begin later in 2015 and be finished during of 2016. The project is supported by the Danish Arts Fundation. More info to come.

█ In Concert #2

A snapshot from a solo performance at Mayhem, Copenhagen, Demark, June 27.2015. Thanks to Lars Lundehave Hansen for making the 'In Concert' series possible.

Review from VITAL WEEKLY 959: "Skjødt is someone who wheels the drone machine, and as such he’s not the only one in the world of course, but I must admit he does some very impressive work. Both of these pieces are heavy slabs of drone music; Part One is all out loud, and half way through adds weight to the pieces by adding more and heavy bass sounds, while the second part starts out softer and slowly starts building up. At one point in that piece there seems to be an angelic choir humming from above and beyond – but then, maybe I was hallucinating. Then, still in this hazy state of listening, I was thinking about machines humming in a parking lot late one evening. Skjødt moves all over the place to create his vast sonic soundscapes and he does that very well. There is a lot of drone music out there, there is a lot of great drone music out there (and you know I am sucker for drone music), and while Skjødt is perhaps not the most ‘new’ sounding artist in the field of drone music, he delivered one hell of a great record. Play loud, is my suggestion for this and you’ll be blown away by the rich sonic detail of it all." (FdW)

█ Lyddetektiven

Featured in 'DR P1 Radiofortællinger' together with Eddy Bøgh Brixen who works with forensic acoustics. The show will air December 14.2014, and will also be available as podcast.

A shapshot from the performance of the piece OMDREJNINGER at the Wundergrund Festival 2014. The piece is a collaboration with composer and guitarist Mark Solborg and was commisioned by SNYK with support of The Danish Arts Foundation. Photo: Hanne Budtz-Jørgensen

The 3rd part of the SKAN II exhibition in the Botanical Garden of Riga is now open showing ILLUMINATION and much more.

█ Krudttårnet

Premiering INTERNAL PROPELLANTS August 7.2014 at Krudttårnet, Frederikshavn DK, exchanging the once so mighty cannons with loudspeakers. The work is commissioned by Ny Musik with support from the Danish Arts Foundation.

█ international Sound Art Exhibition SKAN II

"In 2007, the association for adventurous music and related arts “Skaņu Mežs” organised the first SKAN sound art exhibition with the participation of 12 internationally renowned, as well as local artists, at the erstwhile chicory and pasta factory near Arkādijas Park. Back then, in the context of Latvia’s contemporary cultural scene, SKAN was a unique event, because it was the first time that such a broad exhibition dedicated to the genre of sound art had been held in Riga. Moreover, this fact did not go unnoticed in the international arena, and a favourable review was duly published in the English avant-garde music magazine, THE WIRE.

Seven years later, a follow-up exhibition SKAN II has been included in the official programme of events celebrating Riga 2014 – European Capital of Culture. On this occasion too, the exhibition has attracted outstanding artists from all over the world, for whom sound is at the very epicentre of their creative oeuvre.

In the context of sound art, the space in which the works of art are exhibited is of paramount importance, and is defined by its architectonic, historical, social and acoustic attributes. The work of art unquestionably interacts with the space in which it is aired. With this in mind, the venues chosen for this exhibition are the University of Latvia’s Botanical Garden in Riga, as well as the Kalnciems Quarter Gallery and Pardaugava’s wooden manor houses. The goal of SKAN II is to allow this aesthetic experience to attract not only art lovers, but also chance bypassers.

Works of sound art have the ability to accent a space and transform it into a special event venue. As the main venue for the exhibition, the Botanical Garden will serve as its central axis, in order to also draw attention to the adjoining historical building district of Pardaugava. It brings with it a layer of history and culture, which is worth highlighting, including places like the forgotten Philosophers’ Alley, as well as the old manor houses and wooden buildings such as the Volfschmidt Manor House in the Botanical Garden. Skaņu Mežs is able to accent this urban environment through the material that is the foundation for its creative offering, i.e. sound.
The exhibition will take place in three parts from 30 May to 24 August. It will feature works by a total of 18 artists who represent a broad spectrum of approaches to audio-visual art: Jitske Blom & Thomas Rutgers, Peter Bogers, Aernoudt Jacobs, Signe Lidén, David Helbich, Pascal Broccolichi, Stefan Roigk, RIXC, Anke Eckardt, Tommi Grönlund & Petteri Nisunen, Heimo Lattner & Judith Laub, Carl Michael von Hausswolf & Leif Elggren, Evelīna Deičmane, Max Eastley, Voldemārs Johansons, Michael Schumacher, Edwin van der Heide & Jan-Peter Sonntag, and Christian Skjødt."

Researching for a site-specific sound installation in The University of Latvia’s Botanical Garden in Riga. This new work will be a part of the 'SKAN II' sound art exhibition organized by Skaņu Mežs during the Summer of 2014.